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Anthem Statement D1 Surround Sound Controller, Audiophile Preamplifier, and Home Theater A/V Control Center
Author: Brian Florian - www.hometheaterhifi.com | Source: statement.anthemav.com
The D1 Design | Continued from previous page - 1 2 3 4 5
For the record, the D1 is ever so similar to its predecessor in terms of the back panel. Seven conventional analog stereo inputs are each augmented with coax digital audio, composite video, and S-Video. Two have complete sets of analog audio and video outputs to feed the record lines on those (or any) component. There are three Toslink (optical) digital inputs and one Professional AES/EBU digital input, all of which can be assigned to any of the previously mentioned seven basic inputs. There is a dedicated two-channel balanced input and a six-channel (5.1) single ended analog input. A quartet of component video inputs can be assigned to any audio line.
For outputs, complete 7.1 sets are provided in both single ended and balanced formats. Both include two jacks for the center and subwoofer (10 outputs per set total). Stereo audio, composite, and S-Video outputs are provided for Zone 2, Zone 3, and the Rec Path, while a pair of coax digital audio outputs are available with a variety of formatting options. Two component video outs are there as well. Despite the abundance of jacks, and the fact that at first glance it looks overwhelming, Anthem has kept the concept that worked so well on the AVM-20: All inputs are on a black background, while outputs are all on a white background. See below.
Anthem doesn't not quite have all the THX standard colors on their multichannel I/O jacks (there is no distinction between main, surr, and rear). I suppose I should be more upset with THX for being "loose" on this requirement as I know they are, but either way, I have to point it out. It is such a simple thing which time and time again I've been thankful for when making connections hunched over the back of a rack where labels are all but useless.
There are three 12V trigger outputs (1/8" jacks), two infrared outputs (also 1/8" jacks), and a 12V terminal strip to power such things as IR receivers. A DB-9 RS-232 serial port serves not only as a vein for the D1 to communicate with whole home systems, but also opens up the D1's brains for software upgrades and changes. Although after all that, it seems banal, antenna terminals are there for the built-in AM/FM tuner. The only spot on the back not populated has been conspicuously labeled "IEEE-1394" (though as of this writing, that spot is not going to be blank for much longer).
There are four independent zones (or paths if you prefer to think of it that way). The Main Zone is the full 7.1 channel layout. Zones 2 and 3 are completely independent 2 channel paths complete with volume and tone control. The 4th is the Record path, again, independent of all the others. Any source can be routed anywhere.
That's where the resemblance to the AVM-20 ends. Under the hood things start to take on the different shape.
In the D1 both the main power supply and stand-by power supply are torodial (the stand-by in the AVM-20 is a standard iron core).
The D1 employs more than twice the computing power of the AVM-20, with a pair of Motorola 56367 DSP units running the show. While simply looking at the model of DSP and their MIPS provides no line on which to judge an SSP, it is a concern from the point of view that we don't know what's around the corner. It has been demonstrated how a new decoding scheme can put greater demands on an SSP's computer, or require a new one all together. No matter how many 56366 DSPs were in the AVM-20, it would take a 56367 to do Pro Logic II, but Anthem had the foresight to put the DSP section on a daughter card, making the swap necessary to go to version 2.0 a literal snap. The same physical layout exists in the D1, but I don't think we'll be replacing anything any time soon. Consider that with the twin Motorolas, the D1 can decompress a muti-channel bitstream, do full bass management on seven channels of 24/96 audio, and perform THX Ultra2 or Dolby Pro Logic IIx post processing. 'Nuff said.
The D1 uses AK4395 DACs (Digital to Analog converters) and AK5494A ADCs (analogue to digital converters), both capable of up to 24bit/192kHz (though the ADCs are actually operated up to 24/96 only, something we'll explain later).
The oh-so critical issue of output stages is answered by Anthem with the choice of BurrBrown OPA-2132 units all around. These were chosen over the OPA-2134 units used in the AVM-20 in part for their stability down close to DC.
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